How to Create A Human Leaf Animation With X-Particles & Cinema4D (Colored Nature) Tutorial

hey what's up guys my name is Ryan Talbott and today I'm going to be showing you how to create this animation so we'll be starting off by using an ex-parte achill system to create the leaf animation then I'll show you how I built the environment using octane render forester and a couple of quick samac and then to finish off I'll show you a breakdown of the compositing face alright let's get into it one thing to note about this tutorial is that it does require X particles I'm using version 4 but as long as you have that trigger action object you should be good to go so the first thing I that I need to do is I need to get some motion capturing animation so I just head to mix omocha and as long as you have an Adobe subscription you should be able to log in and access all these characters and animations so the animation that I used is called look around looking around and I just used the regular I believe this is the why bot and so I'm just going to download this animation as is as an FBX I'll go with 60 frames per second and download that so once that's downloaded you're going to want to take that and drag it into cinema 4d as a new file and if you play that back you have your motion capture animation all ready to go the next step is to export this as an Alembic file so I'm just going to go up to file export Alembic and the reason for doing this is X particles won't see this regular animation unless it's exported as an Alembic sequence it might work as an obj sequence too I'm not too sure but in this case I'm using a limbic let's create a new cinema 4d file and let's create an X particle system so in the same file let's reopen our Alembic so I'm going to drag my Alembic in here it okay and then we don't need any of this nonsense because this is just a bunch of nulls that got baked down this was our skeleton but we don't need that anymore so I'm just going to put that in a null and call this looking around dot ABC so that we know it's an Alembic sequence so I'm going to copy this over into our X particles file and I'm gonna save this before we continue so under the emitter tab let's change our emitter to a circle and let's change the emitter plane to Y and we can scale this up as well something like that and under emission let's uncheck emit all frames and let's change it from zero to one so that the leaves generate on the first frame and then whatever we have is just whatever plays through and the rest of the animation I'm going to pump up that birthrate to somewhere around a hundred thousand and we're gonna decrease the speed to 100 with a variation of 100 and if we play that back we should get something like this all right cool so now we're gonna add a crap-ton of modifiers to make this do what we want which is first we want all these to be attracted to our animation and cover him up and then we want them to with a fall-off blow away into the wind so the first thing we're gonna do is we're going to add a motion modifier we're gonna go and find cover slash target now the target object is going to be looking around ABC so we'll just connect that and let's see now all of our particles are attracted and we can turn off our original Alembic animation and see that it is still working and we get something like that so now let's adjust our cover settings so that they all kind of swarm towards him faster so I'm going to change the speed mode from use particle speed to gravity and change that gravity strength to five let's see what that looks like much better the next modifier I want to add is turbulence so we can tune in our turbulence settings later on but this will be a good start so the next modifier is going to be a control modifier and that is going to be a trigger action modifier so we're going to drag this down just so that everything is in order I'm going to make my cover first then turbulence and then trigger action in this trigger action is basically going to enable these first two modifiers so let's make sure our fall-off is set to infinite and then let's go down to modifiers and we can actually lock this panel in place so that we can select these two and then drag them into our modifiers to effect particles it's just ensuring that these two modifiers are working from the get-go but the reason we need to set this up is because we're going to add a second trigger action which will tell it to stop covering this object and that's only going to work if we have this first trigger action telling it to cover the object so let's add that second trigger action modifier so let's go back up to modifiers oh and let's unlock this window now let's go up and it'll add another trigger action trigger action not one we'll call this one stop covering we're going to change the fall-off of this from sphere to linear and then let's rotate this 90 degrees actually a hundred and eighty we go and let's let's keyframe it from the top maybe let's wait until all these particles settle in and then we'll set a keyframe here and then we'll go about 20 frames forward and we'll keyframe that right there so now what we need to do is let's go to our stop covering trigger action let's go to the modifiers tab we'll lock this window in and we will tell it to stop covering this object by putting our XP cover in our modifiers to not affect particles and now if we play this back we should get something like this boom so now he gets covered in particles and then he gets wiped away into nothing cool so that's a good start and that's basically the basis of our effect pretty simple okay so there's a few more modifiers I need to add the first one is wind and we want all these modifiers to kick in when our cover action turns off so let's go up to our modifiers and let's go to motion modifiers and we're gonna add wind let's drag that in between our two action triggers and then we'll go and we'll put in a drag and then finally we'll put in gravity okay so I'm going to go to my stop covering and let's lock this window once again and we're gonna drag all three of these modifiers into our modifiers to effect particles window so now when this fall-off comes down it's going to activate all three of these modifiers at once so let's turn off these two and just focus on our wind for now I'm gonna just rotate my wind ninety degrees maybe move it off to the side so we can see a little bit better and then rotate it so that it's blowing kind of at an angle and I don't remember the exact values so I'm just gonna hop over to my actual project file for this and we're just gonna copy over the values from there so our wind was set to 750 so put that here everything else is set to default and so now it blows away cool so now let's go into our drag and I remember this was set to human uprights density custom and let's see what that density was so I had the density set to 25 so let's input that there and let's see what that's doing before the drag was implemented these particles are kind of exploding everywhere and it was kind of insane so I put that drag in there just so that they just kind of float off as opposed to exploding so now we ever gravity and let's enable that and let's see what settings I have for that so I had that set to 301 everything else looks good so let's copy that in here and now let's see what that looks like cool so it's still not looking quite right so we need to adjust our turbulence which is still active remember we never showed off the turbulence from the beginning so it's still affecting those particles as they float away so let's go check our turbulent settings and I had the scale set to 291 the noise type was turbulence and the strength was 506 so let's make sure we have all those settings so let's change our noise type scale okay and let's see what that gives us cool so that's looking a lot closer to what I want now one more thing I'm going to just real quick is I noticed when I hit play there is still some particles that kind of buzz around him before the fall-off happens so I'm gonna go into our XP cover and I'm going to crank up the acuteness of turn and I think that will fix our issue so that these particles just kind of snap into place and there you go I'm gonna adjust the fall-off keyframes a little bit as you can see I already slowed down the keyframes a bit so if I hit shift f3 that'll bring up the timeline window and just for the sake of being able to see what I'm doing I'll dock it right here and I'll adjust this so let's go back to the beginning and delete this first keyframe and I want it to start more off to the side and and I want it to be rotated so I wanted to sort of come down at an angle so let's create a keyframe there and then maybe move this over here create another keyframe boom and maybe we'll have something like that all right cool alright guys the next step is to create our leaves and our environment so I head to quick so calm for this and I used some of their scans for both the leaves and the ground environment it does cost $19.99 a month but there's actually a free section on here too where you can get some cool assets like branches this concrete these rocks yeah so you can go download some of these things for free too and definitely don't feel like you have to use this either there's plenty of other websites out there one like CG textures calm and if you search on here I bet you can find some leave materials some leaves yeah there you go so I'm just going to show you what I used this is the leaf map that I ended up going for so I'm just gonna drag this over here and quickly build an octane material start plugging in these maps so all we really need is the color map and the opacity so I'm just gonna plug these in real quick just dragging and dropping and bada boom bada bing all right so let's double click to update that material name this leaves and let's just drop a plane in here real quickly and up the segments to something like 30 and 30 head over to display change that to Groot shading so we can see that and let's put our texture on there so the reason I up the segments a little bit is if you go into your top view and then change display to grid shading lines hit C to make that plane editable we're going to start separating these into the different leaves so I got my rectangular selection tool and I'm just gonna select these right here it yupi and now I turn off this plane you can see we have our first leaf right here and let's and into our perspective so you can see that a little bit better boom there it is so just make sure you select enough polygons so that you're not cutting off the leaf I'll go back to my plane select the next set it you pee you see that's creating new objects go to the next one it you pee and then pretty much just repeat that process so when you're done you should end up with something like this and we can actually delete our original plane altogether and if you feel like being organized you can select all these go down to tools naming tool and let's replace the word plane with leaf boom so now let's copy all these over to our other project so I'm just going to ctrl C head on over and we need to create a generator object so we can replace these dots with our leaves so let's go down to generators and choose just a regular old generator and I'm gonna paste all our leaves in here and move them underneath the generator like so and if you play it back you still see dots and that's because we did not choose an emitter so let's choose our XP emitter and now we have all of our leaf cards in there but the problem is they're all laying flat and we want them to be rotating in different directions so let's head over to our XP generator and under scale rotation offset let's change particle rotation to set rotation and I'm gonna change everything here to 360 including the variation so now if we reset this animation and play it again you can see all of our cards are facing completely different directions and the next thing I want to change is the scale of these leaves because they're way too big right now so let's go into our XP emitter and change the radius to something like 3 so another really important note is when you change this radius to 3 it's going to affect the scale of all of these modifiers so now you see when I play this back we're getting some pretty crazy stuff when that fall-off comes down so in order to compensate for changing the particle radius you need to go into your drag and we need to up the force multiplier to a thousand so now if we play that back it should look okay and one last thing you're gonna want to do before we cash this is we're gonna want to drop a plane in here and then scale it up and then apply an XP Collider tag to it that way we just make sure none of our particles pass through the floor and they just collide with it instead so why don't we pause this and let's actually do a quick cash so under other objects let's add our cash object right here and we're gonna just hit build cash cool so now that we have a cache we can scrub through our animation and see what the whole thing is going to look like let's head into our octane viewer and preview that and now we can start building the leaf material so the first thing I want to do is get a sunlight in here so that we have something to base our material off of other than just nothing so just rotate that maybe have it comment at an angle I'm going to actually duplicate this material and we're going to name this one leaves glossy and this one leaves transmission so for transmission let's copy our diffuse and paste it in the transmission tab and now in the transmission tab I'm going to boost the brightness up to something like three because we're also going to mix this and now I'm going to create a mixed material so I'm going to combine our transmission with our glossy material and now if I go into glossy let's actually make it glossy so go in here can increase the roughness and maybe also increase the index a little bit and let's plug in our normal map for this as well so I'm pulling up the glossy material and then I'm gonna pull up my leaf map and I'm just gonna drag in my normal map right here and plug this in and there we go and I might as well plug in our specular map while we're at it too so now we have this octane mix material and let's let's lean it more towards the transmission side and I'll rename this leaves mix 1 and under our XP generator swap out that material onto all these all right so now that we have our main animation set up why don't we go and build the environment and then we can come back and tweak these leaf materials even more all right so I've hopped into a new cinema 4d file and one thing to note before we continue is I am using another plugin called Forrester for cinema 4d you can check it out here on 3d Quakers comm but once again don't feel like you have to use a paid plugin because you can also go on turbosquid and search free tree and there's all these things you can download here for free so I'll start by making a new plane and let's also grab an octane scatter object and a forest or tree so the tree I want to choose under your tree library is the aspen tree and then I'm gonna scale up my plane quite a bit and we're gonna drag our aspen tree underneath that octane scatter and we want to set our distribution to surface and we want that surface to be our plane which I will also rename the floor so now we have aspen trees everywhere and there's way too many of them so let's decrease our number to 500 and that's a little bit better let's go even down even more to 300 and now we want each tree to have its individual rotation because you can see there's a bit of what looks like tiling going on so let's go up to our octane scatter and let's go down to rotate now I'm going to set this to 360 in that under shader let's put a noise in there and then decrease the scale to something like 1% and now each tree has different rotation I'm gonna up the contrast a little bit more so just to make the effect more even more dramatic and now let's go do the same thing with our scale so I'm gonna stick a noise in our scale and boom that should be fine I'm you can even scale down the noise let's do something like 10% maybe and it's just gonna look a little bit more random that way and the next thing I'm gonna do is I'm going to drop in a daylight and now let's rotate our daylight something like that maybe before we continue I'm also going to note that I'm using path tracing instead of direct lighting so if you see when I switch this to direct you can see how the lighting changes dramatically and it it's not very accurate compared to path tracing there's there's a lot you can read up on on why path tracing looks better but basically it calculates all these different light bounces and global illumination from all these different the colors of the leaves and it takes a lot more things into account then direct lighting does and you can see how drastic of a difference that is right there all right so I'm gonna turn down the Mac samples to something like 500 because we don't need that many samples just to preview this and let's bring in our ground texture so for the ground I'm using another quick samac it's called ground forest 8k and it looks like that so I'm just gonna make a new octane diffuse material and open up that node editor and start dragging in our Maps so we've got our diffuse our displacement come over to our displacement tab hit add displacement plug that in Roughness we got our normal map and then we're gonna have to change this to a glossy material to enable the specular channel and let's drag in our specular and just to clean this up a little bit you can select everything go up to view auto or aged selected and now everything is nice and organized so I'm going to rename this ground and then drag it on to our ground now I'm gonna come over to the material and I'm gonna scale this down to something like 10% and that looks pretty good and the next thing I'm going to do is bring in an HDR IMAP so we're going to go down objects HDR environment and I'm gonna go to my handy-dandy HDRI folder and use this one which I found on Google Maps a while ago it's my favorite HDRI to use and we're not seeing it because we need to go over to our daylight and enable mix sky texture that way we're seeing both the daylight and our HDR map at the same time so let's head over to our HDR I and because it's a JPEG we need to adjust our gamma from one to two point two and you can see how it got a lot darker right there so now the key here is to really just come in here with your camera and find a nice composition in this forest now I think I'm actually going to scale up my floor even more and let's turn up the number of aspen trees and our octane scatter let's double it okay so a couple more things the first thing is the scene feels very dark and dull to me it doesn't feel like a daylight scene so what I'm gonna actually do is I'm gonna pump up the power of our daylight to four and it's gonna look kind of overexposed at first but now you can see even the shadowy areas are brighter the background is blown out but one thing we can do to sort of bring back those shadows but keep this light look is by adding more trees so let's go to our octane scatter and up into something like a thousand and another thing that I forgot to mention before is that I need to change my displacement settings so on the ground texture let's up this to something like 60 and change the detail level to 2048 and the mid-level 20.5 and now we're getting some nice displacement on the floor we can zoom in there and kind of check it out okay so the next thing I want to do is add some variation in the color of these leaves so let's take our leaf material and let's convert it to an octane material first and then one handy tool is to go up to function and remove unused materials and that way if you just convert a lot of materials at once you can delete them all with that shortcut so I'm going to come into my leaf material here and I'm going to add a color correction node and now what you can do with this is you can come in here and adjust the hue so if I want the lease to be red all I have to do is shift the hue to the left or if I want the lease to be yellow I can shift it a little bit to the right so why don't we make a yellow version and we'll duplicate this two more times and we'll keep one at the original color and then we'll make this third one leaning towards the red side maybe something like that cool so now we have all these different gradations of color so how can we apply this well let's duplicate our aspen tree in the octane scatter objects and let's just swap out this leaf material on each one so now if we look around we can see that we're getting some variation although I think I'm seeing too many yellow trees so what I'm going to do is I'm actually going to duplicate this middle aspen tree and that should give us more orange trees give that a second now you can see there's some red and there's some orange and there's some yellow as well now the next thing I want to do is add some leaves scattered all around the ground as if they've been falling from these trees so I'm going to hop on over to my other project file and I'm going to grab these leaves right here so let's just copy these over you and we'll paste these all in and let's add another octane scatter and we can even rename it leaves if we want to and let's just drag all these underneath that hierarchy cool and now let's change vertex to surface and select our plane we have some leaves we can up the count to maybe something like 10,000 and let's go down to scale and let's add in the noise in here now these leaves are looking too big so you can just select these original objects and scale them down and that should scale them down in the octane scatter as well so one problem I'm noticing with these leaves is that there's some very strange intersecting happening here because of the displacement on our ground floor we're not seeing the opacity channel come through instead we're seeing the light border to explain a little bit better or just show you if I turn off the displacement you can see how these cards are intersecting with the plane so what we want to do is in our leaves scatter is just change the position to something like two which will raise our leaf texture slightly above that plane and get rid of that intersection problem so if we turn our displacement back on we should not be seeing those artifacts there's still maybe a tiny bit going on but from the camera angle that we're gonna be setting up you're not gonna see any of that all right I'm thinking these leaves are still maybe a little bit too big so I'm going to scale them down some more and let's turn up the number to 1500 or sorry 15,000 yeah scale it down a little bit more turn up the number so now what we want to do is we want to match the color of these leaves to the ones that are on the trees so we're going to do a similar technique so I'm going to duplicate this mix material twice rename this one mix two rename this one mix three and let's also duplicate our leaves transmission a couple times and we're gonna do the same thing and add a color correction node to these and we're gonna shift the hue but shifting the hue isn't really doing enough so what we're also going to do is up here in the color channel let's mix in some orange maybe something like that and then down here we're gonna mix our color correction node with the straight color and now you can see the color is changing and the more we slide it over the more orange we get in that material so why don't we come back into our color correction and let's also adjust the brightness let's try something like three and let's just keep adjusting the hue until we get something we like alright so I'm finding that this is a good hue right here that's kind of matching the color so now I'm gonna desaturate it a little bit to something like 0.7 and now that's matching the trees pretty well okay and one last thing we want to do if we open up our node editor we can see that we have a separate image texture being piped into the transmission then what's being put into the diffuse and only the diffuse is being color corrected so let's delete this second one and let's make sure our color correction is also being piped into the transmission tab that way we don't have duplicate nodes and if we update our color correction here it will update in both the diffuse and the transmission so now let's update our mix materials and we'll select our leaf transmission to and then we'll select our leaves transmission three alright so I've gone ahead and I've updated my other transmission in mixed materials so I basically did the same thing but you can see in this one I mixed in a little yellow and in this one I mixed in a little bit of red so they all have slightly different color variations so now I'm just going to go through and I'm going to update the materials here in the scatter object and I suspect we'll be editing these materials furthermore once we get our X particles animation in here because we're gonna be seeing that again in a different light okay so I went ahead and I found my composition in this forest and I decided that this is going to be the spot this is gonna be my framing so I'm gonna add an octane camera and then I'm gonna add in a null and let's take our Knoll and let's reposition it where we want our X particle system to be we want it to be center of frame and if we go to our null settings we can also change the display to something like a cube and set the orientation to X Y and now we have a better idea of where that is in 3d space so if we want our X particles dude to be somewhere right here we can rename this Center null and now I'm going to create a second null and we're gonna name this one environment and this is just gonna help me keep things organized so I'm gonna drag everything into my environment no that way when we drop this into our other project file it's not so confusing so let's let's drop our Center null into here too and then I'm just gonna hit control-c and let's bring this over I'm going to delete this existing octane daylight because we have our own daylight now and then we're gonna paste this in and let's enable our camera so we can go back to that spot and we're going to drag our X particle system underneath the Sentinel and then reset that position to zero and we might also have to rotate it 90 degrees so let's do that but now if we refresh our live viewer we get this which looks awful and completely different and that's because we need to change this back to path tracing and now it looks beautiful again so let's turn down the samples to 500 why don't I scrub a little bit later on to a spot where the man is fully formed so we can see what that looks like and why don't I adjust my camera a little bit I'm gonna pause this and then maybe we'll move it up a little bit so it's a little bit closer maybe something like that all right so before we continue I'm just gonna hit shift V really quick and go to my view and I'm gonna change the opacity from 10 percent to 100 that way we're not seeing any unnecessary stuff and it's easier to line up our composition so now let's go and let's update our leaf materials so we have the correct leaf materials on the ground but we need to update them in our particle system so let's just select all these and delete them I'll go to function remove unused materials and then I'm gonna drop these in and now let's refresh our viewer the next thing I'm gonna do is I'm going to add a little light into here so I'm gonna go up to options turn off check camera that way I can light my scene a little bit easier and let's go in here and get out of the camera view and I'm going to create a new targeted area light so I'm going to drag this underneath the center hole and I'm actually going to move my center out of the environment Knoll keep those separate and let's reposition the target light null to zero actual light right here and let's move it and now we're getting some nice sidelight in there so the next thing I'm going to do is I'm going to go into the light tag and let's turn the temperature down to something like 4500 and that will give us a nice warm look as if it were daylight coming through and I'd say we're getting pretty close guys I'll show you one thing I did to the light as well as I put this cubit here and then I zero out the position and now this cube covers up the light right so if I make the cube editable this is kind of replicating you know a lighting setup in real life where you would have it's called barn doors and that would sort of set the direction of your light so I figure well if it works in real life why not try and recreate it in octane so I'm just gonna fit this kind of to the shape of our light and now I'm going to create a black material pure black way it's not reflecting any white light which is also kind of what you would get with real barn doors so let's select the edges here and then I'm going to scale these in and that's just gonna direct the light onto our subjects and sort of avoid that light spilling on to the trees in the background I'll turn this off for a second and then I'm gonna put this into compare mode store render buffer and then we'll turn it back on and we'll see what a difference that's making so this is with the rig and this is without so now you can see we're still getting the same amount of light on our subjects but it's cutting out the light onto these trees in the background it makes it feel more like this is just a ray of sunlight coming in through the trees then it is an area light that's spilling all around so next I'm going to create a little camera rig and I'm gonna start off with a circle spline for that and let's drop it into our Center Knoll and let's just hit PSR change our plane to XC and I'm gonna come out of our octane camera and I'm actually gonna put our octane camera underneath the Sentinel as well and then I want to scale up this circle until it's hitting the position of our current camera and then I'm going to make it a child of our octane camera so I can zero out the Y position and have it perfectly aligned with our current camera setup and now I will uncho this object I'm not sure what the correct term is for that and I'm going to duplicate this octane camera and we'll name it animation camera and I'm going to right click on that and put a target tag on there and in a line to spline tag on there so with the align the spine we're gonna align it to this circle and you can see now it's lined up and next we want to create a target null so that this camera is always facing our X particle system so we're gonna go up here and create a new null and we'll name it camera target and let's drag it down in here we'll hit PSR to Center it and then we're gonna bring it up let's check the Y position and just copy that over from our animation camera so now it's it's on the same plane as our camera and we're just gonna tell this target tag to point at the camera target so now we can delete our original octane camera if we want to and if we look through this camera we can go to our align to spline tag and we can animate this position and now our camera is going to dolly around perfectly our subject but you notice I'm hitting 0% right here in the center but let's say I want to cross this axis even more the way I would do that is to rotate my circle 90 degrees or maybe negative 90 degrees and now let's take the position and let's turn it up and now we can freely move across how we want to so I'll go back to frame 0 and I'll set a keyframe here and then I'll go to the end of my animation and we'll move the camera around a little bit and we'll set another keyframe there and now we got a nice rotating camera so if I hit shift f3 that'll bring up my timeline and then I'm gonna select my align to spline keyframes and I'm gonna hit linear that way the camera movement doesn't ease in it's a continuous motion throughout the whole shot and now I'm just gonna move our light out of the way real quick so let me select that move it back and now it's just barely in the frame a little bit so I move it back some more and now we're good and now I'll go back into my octane view and I might need to boost that light a little bit to compensate for it being farther away so I'll go in here and let's just try something like 150 and the last thing you're gonna want to do before you set up your render is add an octane object tag onto your XP system and make sure the motion blur is set to transform slash vertex then go to your octane camera go to the motion blur tab check that motion blur and then you're gonna want to set a shutter speed of something like 1 over 60 so here's a quick snapshot of my render settings 1920 by 1080 P 24 frames per second and I also go down to project and make sure that my FPS sets 24 here as well and then under the save tab I have a render token set up when you type dollar sign RS that just means to grab the name of your render setting so if I name this render setting leaf animation and I set up my path so that it goes into the sequences folder and then dollar sign RS dollar sign RS it's going to set up a folder named leaf animation and then it's going to stick the actual files in that folder and also named them leaf animation so for example when I did this render I set it up so that there's a folder called color nature and then all in here it names the files colored nature so I thought as a bonus I'd show you a little breakdown of the compositing stage of the render and this is really when all the colors start to pop out but the first thing I do before that is I apply a reduced noise filter by neat video and if i zoom into this image you can see it's kind of grainy because I rendered this at 300 samples but once I apply this filter you can see it makes a big difference and then the second layer I did on top of that is a glow so you can see what that looks like and if I solo this layer you can see it's only highlighting the brighter areas of this image and then I set that in to screen mode and the effect I'm using for that is FL glow so adjusting the gamma here is what controls how much of the image gets the glow and how much does not so you can see now only the brightest things will glow and if I increase this further everything glows equally and then on top of that add some Video Copilot particle assets so you can see what this looks like by itself the effect I used on this was the levels and that just crushes the blacks a little bit so when I composite it the only thing that shines through are the actual particles themselves because I don't want this gray to affect the entire image so here's what that looks like before levels and then after and on top of that I have two adjustment layers the first one is just a levels adjustment to add some contrast back into that image and if I disable our glow you can see you can see better what that's doing with the levels adjustment on in the final adjustment layer I added on top of all this is a hue and saturation filter and you can see what that's doing immediately um so I mask this off to just the left half of the image and I just I just adjusted the hue a little bit to the left so you can see what that's doing and I just did that because I wanted to add some variation into the color I think making the left side red also complements the sunlight coming in from the right side it really makes the light feel directional as if the reds are more caught in the shadow and the yellow part is brighter because of the Sun and then coming out of that last competent to this one I added a handheld shake onto it using the wiggle Rama effect in After Effects so this is with it on and this is with it off so you can see the camera movement just feels a little bit more organic that way and then the final adjustment is a vignette and that's just because our subject is in the direct center so it made sense to darken the edges a little bit in this case thank you for watching the tutorial I hope you enjoyed it I hope you learned something feel free to drop a comment if you have any questions I'll try to get back to you I'm also pretty active on my Instagram if you message me there and other than that I just hope you have a great day and I'll see you guys next time hey buddy you want to say hi to the Internet [Music]

Channel: Ryan Talbot

Views: 61,352

Keywords: Cinema4D, X-Particles, Octane Render, Forester, Quixel, Tutorial, Animation, 3D, VFX, Ryan Talbot, Motion Designer Community, MDC

Id: H0SLVH28sWo

Length: 46min 35sec (2795 seconds)

Published: Tue Sep 11 2018

Reddit Comments

[u/Melodic-Magazine-519]

Did you use the field to remove the particles?